• The Journal of the Korea Contents Association
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• v.7 no.10
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• pp.311-320
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• 2007

This study is to analyze the present condition of internal dance troupes' web sites contents and through this study, we aim at suggesting beneficial plans not only for constructing better web sites and contents for national dance troupes but also for contributing to the development of national dance troupes. In order to achieve this study's object, we selected eight dance troupes that run their own web sites and examined their contents. the conclusions are as following. First, among internal professional dance troupes, Korea National Ballet, Seoul Ballet Theatre and Universal Ballet Company offer the best contents at their home pages and they have the most lively community concerned activities at their internet web sites. Second as for the web sites of municipal(provincial) dance troupes, those of Gyeonggi provincial dance troupe, Daejeon municipal dance troupe, Busan municipal dance troupe, Seoul municipal dance troupe Incheon municipal dance troupe have lots of contents briskly carried on, but those of the others need complementary measures. Third, Seoul ballet theatre and Universal Ballet Company offer lots of information about their activities to satisfy their customers and make the maximum use for public relations ; performance news, the introduction of their members, the story of ballet press reviews, new letters. On the other hand, at the web sites of Metropolitan Dance Theater Provincial Dance Company, there are much fewer contents about their activities which doesn't lead customers to visit their webs.

• Trans-
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• v.1
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• pp.67-89
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• 2016

This study aims to examine the present (Western) modern dance by analyzing the works of three choreographers who are currently at the forefront of the dance scene to identify and understand the current choreographic trend. The three selected choreographers for this study are Justin Peck (USA), Sidi Larbi Cherkaoui (Belgium) and Zach Morris (USA). These choreographers were chosen on the basis of their significant identity within the current dance scene. For analysis, one noteworthy works of each choreographer were selected for video analysis. The result of the analysis illustrates that in the current era of promoting technology convergence in the performing arts industry, the three choreographers approach convergence differently by integrating dance and other mediums in their choreography. Peck converges between ballet and the ordinary, Cherkaoui converges between dance and other cultures and Morris converges between dance and venue.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.147-155
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• 2012

This study is to analyze the difference of the post-viewing emotion and behavior of the audience at a dance performance by general characteristics of the audience. To attain the goal of the study described above paragraphs, the audience of dance performance located in Seoul and Kyoungki-Do was set as a collected group. Then, using the convenience sampling method, finally drew out and analyzed 280 people in total. statistic analysis techniques were used SPSS 18.0 program. Based on the statistical methods above, we had the result of data analysis as follows; First, among the general characteristics(job, viewing frequency, dance experience, and genre), had significantly effect on the post-viewing emotion(positive emotion, satisfaction) Second, among the general characteristics(job, viewing frequency, dance experience, and genre), all the factors had significantly effect on post-viewing behaviors(researching, respectating intention).

• (The) Research of the performance art and culture
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• no.19
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• pp.191-220
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• 2009

The aesthetics of Korean pantomimic mask-dance-drama is studied in this thesis. The scripts of the pantomimic mask-dance-drama were recorded generally, explanatorily and interpretively. The emotion and psychology are expressed by the look and body language. The mimic expression of the pantomimic mask-dance-drama was analyzed intensively. The speech drama is richer and deeper than the pantomimic mask-dance-drama at the aspect of the power of expression.

• (The) Research of the performance art and culture
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• no.33
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• pp.243-271
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• 2016

When an aggressive war reached at the climax in 1940, a commemorative event called celebration' was held on a large scale in Japan for 'beginning former 2,600 years. It was performed for the policy that was going to break off the fatigue that was tired for nation dissatisfaction and war for the politics. I considered Urayasu-no-mai Dance played as part of a celebration event in a Shinto shrine of the all over Japan how was created and spread by this article Urayasu-no-mai Dance was created newly and was played in Shinto shrines of the whole country. The Urayasu-no-mai Dance was created based on Gagaku and Miko Mai (shrine maiden's dance) that has been read aloud not to go out of the ancient times. It was created in the situation of the war and spread and was spread. It will be said that Urayasu Dance is a typical example of 'forged traditional'. Urayasu Dance is a tradition made at modern time and remains for an unfortunate inheritance used again by the advertising tool of the national ideology. The Urayasu-no-mai Dance is expanded more now, without enough consideration about the historic procession other words, It played under a strong-arm society atmosphere is placed as new folk performing arts all too soon. In the complicated world situation at the time, Urayasu-no-mai Dance that emphasized a Japanese tradition for the inside and outside were spread. Urayasu-no-mai Dance created in modern times substitutes a traditional shaman dance, and there is even the tendency that ritual performing arts peculiar to each local Shinto shrine is unified to Urayasu-no-mai Dance. Such a movement shows a new aspect of the culture power that social turning to the right in Japan is not unrelated to becoming it. It is a traditional reinvention, or do you forge the tradition? I examined a process of a process and the spread of traditional creation produced consistently.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.193-202
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• 2019

This study focuses on what changes are required as to a curriculum of dance department in the university in the age of the 4th industrial revolution. By comparing and analyzing the curricula of dance department in the five universities in Seoul, five academic subjects as to curricula of dance department, which covers what to learn for dance education in the age of the 4th industrial revolution, are presented. First, dance integrative education, the integration of creativity and science education, can be referred to as a subject that stimulates ideas and creativity and raises artistic sensitivity based on STEAM. Second, the curriculum characterized by prediction of the future prospect through Big Data can be utilized well in dealing with dance performance, career path of dance-majoring people, and job creation by analyzing public opinion, evaluation, and feelings. Third, video education. Seeing the images as modern major media tends to occupy most of the expressive area of art, dance by dint of video enables existing dance work to be created as new form of art, expanding dance boundaries in academic and performing art viewpoint. Fourth, VR and AR are essential techniques in the era of smart media. Whether upcoming dance studies are in the form of performance or education or industry, for VR and AR to be digitally applied into every relevant field, keeping with the time, learning about VR and AR is indispensable. Last, the 4th industrial revolution and the curriculum of dance art are needed to foresee the changes in the 4th industrial revolution and to educate changes, development and seeking in dance curriculum.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.231-240
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• 2010

The major purpose of this study is to examine how the perfectionism of dance majors affect self-efficacy and performance satisfaction. The sampling of this study was done in 2009, by using purposive sampling method with the subjects who are currently the students of an arts high school and dance majors of a college in Daejeon and Chungcheongnam-do. Specifically, by dividing the district in Chungnam and Daejeon, one arts high school and one college were selected from each district, and 75 dance majors from 4 schools respectively, total 300 students were examined for the study. Among these 300 students, the number of students' questionnaires used in the final analysis is 274, excluding the questionnaires containing inadequate answers. The adequacy of the questionnaire was verified by factor analysis, and the reliability of the questionnaire by reliability analysis. In the matter of reliability, Cronbach's ${\alpha}$ turned up to be over .602. In this study, factor analysis, reliability analysis, regression analysis, and course analysis were done by using SPSS16.0. With the above research method and results, I could come to a conclusion as following. Above all, perfectionism affects the subordinate variable of self-efficacy, the self-control efficacy. That is, with the higher self-oriented perfectionism and the other-oriented perfectionism, self-efficacy increases more as well. Secondly, perfectionism affects performance satisfaction. In other words, the higher self-oriented perfectionism, the higher performance satisfaction. Thirdly, self-efficacy affects performance satisfaction. That is, higher self-control efficacy makes the performance satisfaction higher. Lastly, perfectionism affects self-efficacy and performance satisfaction either directly or indirectly. Now it is obvious that self-efficacy is the variable that intermediate performance satisfaction.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.51-62
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• 2020

The study was conducted to verify the causality of the ability of high school and college dance majors to influence the successful goal orientation and how the change in goal affects the sense of dance performance self-confidence. In this regard, 172 dance majors were collected to collect data on their belief in dance ability, the direction of mastery goal of approach and avoidance, and the measure of confidence in dance performance, and the results of their studies were derived through correlation and structural equation analysis and path analysis. The analysis results showed reasonable factor structure and reliability based on the preceding study of feasibility analysis results between variables. Thus, the structural equation for the study variables confirmed that the theoretical hypothesis was suitable, and the path of each variable was verified through the path analysis. The analysis showed that the increased belief that ability can be improved by effort has been found to improve the effort and consequently the confidence in dancing. Also, the fixed belief that ability is not changing in a fixed sense has been found to affect the avoidance goal and reduce confidence. It can be interpreted that the more one believes that one can change one's ability by effort, the more one strengthens one's actions to achieve one's goal, thereby improving one's dance confidence. Therefore, it is deemed necessary for subsequent studies to explore whether the paths of these models differ by their major or dance careers, and to apply variables that can measure the success or failure of actual performances to enhance the explanatory power of these research variables.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.265-274
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• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.